Pieter Hugo
[Photographer, b. 1976, Johannesburg, South Africa, lives in Cape Town.]

 The picture takes 1/125th of a second. The photographer is always trying to compensate for that brevity, to extend the process. 

A.D. Coleman
[Critic and writer, b. 1943, New York, lives in New York.]

 Any photographer worth his/her salt—that is, any photographer of professional caliber, in control of the craft, regardless of imagistic bent—can make virtually anything “look good.” Which means, of course, that she or he can make virtually anything “look bad”—or look just about any way at all. After all, that is the real work of photography: making things look, deciding how a thing is to appear in the image. 

Anton Corbijn
[Photographer, b. 1955, Strijen, Netherlands, lives in London.]

 I don’t crop my images and I always shoot handheld. By doing that I build in a kind of imperfection and this helps to emphasize reality. 

Robert Capa (Endre Ernő Friedmann)
[Photographer, b. 1913, Budapest, Hungary, d. 1954, Thai Binh, Vietnam.]

 If your pictures aren’t good enough, you’re not close enough. 

Lars Tunbjörk
[Photographer, b. 1956, Borås, Sweden, d. 2015, Stockholm.]

 I try to take photos like an alien, or a small child. 

Paolo Pellegrin
[Photographer, b. 1964, Rome, lives in Paris.]

 You want to be more vulnerable because that’s how your photography becomes more human. In a sense you want to become a totally blank canvas so the subject or situation reflects him or itself upon you. 

Man Ray (Emanuel Radnitsky)
[Artist, b. 1890, Philadelphia, Pennsylvania, d. 1976, Paris.]

 Of course, there will always be those who look only at technique, who ask “how,” while others of a more curious nature will ask “why.” Personally, I have always preferred inspiration to information. 

W. Eugene Smith
[Photographer, b. 1918, Wichita, Kansas, d. 1978, Tucson, Arizona.]

 In printing the photographs of the white-gowned Klan members I ran into considerable difficulty. There were several with uncovered faces and these faces were vividly dark in comparison to the white-white of the gowns that it was almost impossible to keep them from appearing black. I am terribly sorry. (Apology to his editor about images from his 1951 photo essay on the Ku Klux Klan in North Carolina.)  
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